Antitheatricality

Antitheatricality is any form of opposition or hostility to theater. Such opposition is as old as theater itself, suggesting a deep-seated ambivalence in human nature about the dramatic arts. Jonas Barish's 1981 book, The Antitheatrical Prejudice, was, according to one of his Berkeley colleagues, immediately recognized as having given intellectual and historical definition to a phenomenon which up to that point had been only dimly observed and understood. The book earned the American Theater Association's Barnard Hewitt Award for outstanding research in theater history.^[1] Barish and some more recent commentators treat the anti-theatrical, not as an enemy to be overcome, but rather as an inevitable and valuable part of the theatrical dynamic.

Antitheatrical views have been based on philosophy, religion, morality, psychology, aesthetics and on simple prejudice. Opinions have focussed variously on the art form, the artistic content, the players, the lifestyle of theater people, and on the influence of theater on the behaviour and morals of individuals and society. Anti-theatrical sentiments have been expressed by government legislation, philosophers, artists, playwrights, religious representatives, communities, classes, and individuals.

The earliest documented objections to theatrical performance were made by Plato around 380 B.C. and re-emerged in various forms over the following 2,500 years. Plato's philosophical objection was that theatrical performance was inherently distanced from reality and therefore unworthy. Church leaders would rework this argument in a theological context. A later aesthetic variation, which led to closet drama, valued the play, but only as a book. From Victorian times, critics complained that self-aggrandizing actors and lavish stage settings were getting in the way of the play.

Plato's moral objections were echoed widely in Roman times, leading eventually to theater's decline. During the Middle Ages, theatrical performance gradually re-emerged, the mystery plays accepted as part of church life. From the 16th century onwards, once theater was re-established as an independent profession, concerns were regularly raised that the acting community was inherently corrupt and that acting had a destructive moral influence on both actors and audiences. These views were often expressed during the emergence of Protestant, Puritan and Evangelical movements.